"The real story [of Beirut] is often found not in the noise, but in the silence – and that is why it is so often missed” (Thomas L. Friedman, From Beirut to Jerusalem, 1989)

Beirut is the first of a series of stories I am producing on the topic of mis-representation of places. I’m interested in challenging the stereotypes inevitably created by the persistence of images related to conflict that condemn certain countries, and especially certain cities, to a fame they don’t deserve. Beirut often appears in western media in association to war, violence, and terrorism.

In this series of images I try promote a more complex representation of Beirut: one that isn’t only related to conflict, nor to the excesses of a small, but extremely rich upper class. I want to show a Beirut of common people, one of contrasts, and co-existence, one of modernity and tradition, one of conflict, but also of relentless energy, and desire to keep going regardless of the everlasting political instability of the country.

This project is a testament to my approach. The choice of the camera, a 1960’s Yashica twin lens reflex, bought on site, is a conscious one, dictated by the need to create images which lack the sharpness of a definite statement, thus not providing description, but rather, requiring and emotional response.